All which crawls, shall be wounded
Heraclitus, On Nature
What is literal about the project “parallel crisis” is the condition of the time photographed as a marginal situation, as a representation of the immobilized social time. Attempting to interpret the debt riddle, what is ultimately defined as parallel crisis is the alteration of the constructed time, within those societies in a situation of financial emergency. The images of the project do not study the materially apparent mining of society but the condition of null movement, endurance, depression. The condition of time in mortgage.
Photography is discussed as the cause of the crisis; definitely as the illustrated (in the photographic work) crisis. The choice of a specific apparatus in order to describe a situation, indicates – at the same time – the imposition of the descriptive power of the medium on the world in reference. It is a kind of agreement that we make with the medium. Photography naively begins to freeze time to finally reach a unique intellectual level where it tracks the time hidden in our societies. This level is not scientific or anthropological, but first of all creative, since the photographic medium reaches its full expressive and poetic capacity when it does not retract from the world but traces one already in rumble. Dead times, bought wages, themes imprisoned, societies in an internal whirling, remind us of Barthes’ words for the death sentenced Lewis Powell: he is dead and about to die.
